A Quote by Kerry James Marshall
I still make paintings and use the figure; it's hard to do and hard to succeed. On some levels, because I am working with black figures and black pigment, it's even harder because I have to be more responsible for the image. I try to be really careful about the presence the figure projects.
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I wanted to make sure the focus [in The Land] was on human beings themselves and their decisions, but still connected to the urban environment that people associate as being black. I think I was able to make a film without commenting on "black this or black that" and you still feel the presence of it. There's no one character who's saying "we're all black and we're all in this struggle." It's that you just feel it. Some of that is because we get the sense from a lot of independent films that black people struggle all the time.
I am an American man, and in America, we still think of figure skaters as little girls in pretty, sparkly dresses - I worked very hard to change the perception and image of figure skating, and I think I've done a great job on my end, but in figure skating, taste needs to evolve.
Emotions are messy and hard to figure out. Hard to know where you start and the next person stops. Even as an adult, that's a hard thing to know. As a kid, it can be really confusing, because it's all new and you're trying to sort of make your map.
I don't paint over my paintings with black paint. I paint black paintings. It isn't because I'm sad, just as I didn't paint red paintings yesterday because I was happy. Nor will I paint yellow paintings tomorrow because I'm jealous.
I feel an obligation to use black dancers because there must be more opportunities for them, but not because I'm a black choreographer talking to black people.
Making a movie is so hard, you'd better make movies about something you really know about. And even more, it's really good to make movies about things you need to figure out for yourself, so you're driven the whole way through. It's going to make things more crucial for you.
It's really hard to figure out what they need to know. And that's parenting, in general. It's hard to figure out what would benefit your kids and what would just make them needlessly frightened.
There are more than 100 million African women who go topless at some point in the day, each and every day, to honor both God and our ancestors. So being in a country like America where nothing is hated more than the image of the black woman, even by black people'because her womb produces the black man and makes us black'I find it of grave importance to implement African images, and especially to produce media images that acknowledge the sexual power and fertility of black women.
Without strength and courage it's really hard to perform at the highest levels of international figure skating, because you're alone on the ice and you only have seven minutes over two nights to prove yourself.
There's this idea that many of the attitudes and personality developments in black folks in the diaspora are a consequence of this unresolved trauma. There have been attempts by black artists to try and figure out how to represent that in some kind of way.
I don't have a lot of time for television because I am making it, so it's really hard for me to sit down. But when I do get a chance, I try to catch up on 'Scandal,' 'Empire' and 'black-ish.'
Impressions are still kind of hard for me and not what I love to do the most, but with characters, I think there's an element of fearlessness. You try to figure out the best reading and wording of the jokes before the show, and then you just really have to go hard.
My dad was quite a forbidding figure. I realise now that that was mainly because he worked so hard. He wasn't unkind, but he was a presence.
People don't realize it hurts my feelings when someone looks at my hair or my eyes, and says, 'But you're not actually black. You're black, but you're not black black, because your eyes are green.' I'm like, 'What? No, no, I'm definitely black.' Even some of my closest friends have said that. It's been a bit touchy for me.
If you look at the image [ Portrait of the Artist as a Shadow of His Former Self ], it treads on a kind of popular stereotypical image of the black figure, in both its flatness and slightly comic edge. To take that image as a starting point and to render it in a proto-classical medium, like egg tempera, and then use a repertoire of classical compositional devices to make the picture was a way of setting up an engagement with art history.
Try to relax, and you will find out that you feel more tense than ever. Try harder and you will feel more tense and more tense. Relaxation is not a consequence, is not a result of some activity; it is the glow of understanding. This is the first thing I would like to relate to you: life is purposeless. It is very hard to accept it. And why is it so hard to accept that life is purposeless? It is hard because without purpose the ego cannot exist. It is hard to conceive that life has no goal because without any goal being there, there is no point in having a mind, in having an ego.
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